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The Shakespeare Conference: SHK 17.0243 Tuesday, 28 March 2006
[1] From: Bill Lloyd <
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Date: Tuesday, 28 Mar 2006 09:00:54 EST
Subj: Re: SHK 17.0234 Chandos Portrait Probably Genuine
[2] From: Joseph Egert <
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Date: Wednesday, 29 Mar 2006 16:05:22 +0000
Subj: RE: SHK 17.0234 Chandos Portrait Probably Genuine
[1]-----------------------------------------------------------------
From: Bill Lloyd <
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Date: Tuesday, 28 Mar 2006 09:00:54 EST
Subject: 17.0234 Chandos Portrait Probably Genuine
Comment: Re: SHK 17.0234 Chandos Portrait Probably Genuine
David Basch and others can find a thorough analysis by Clark Holloway of
the Dugdale sketch of the Shakespeare Monument at
<hollowaypages.com/Shakespearemonument.htm>. Clark credibly concludes
that Dugdale's sketch was inaccurate and that the bust was always more
or less as it is now.
To return for a moment to John Taylor, the purported painter of the
Chandos Portrait: is the portrait actually signed by him? Or does the
association with the Chandos of this member of the Painter-Stainer's
company derive only from the coincidence of his name with the
Davenant-Betterton-Vertue gossip that the portrait was painted by one
"John Taylor an actor in Shakespeare's company"? Perhaps this is
answered in Mary Edmond's magazine article on the Chandos, but I don't
have easy access to it-- has it been reprinted anywhere?
Bill Lloyd
[2]-------------------------------------------------------------
From: Joseph Egert <
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Date: Wednesday, 29 Mar 2006 16:05:22 +0000
Subject: 17.0234 Chandos Portrait Probably Genuine
Comment: RE: SHK 17.0234 Chandos Portrait Probably Genuine
David Basch writes:
>No one on our list has brought up the subject of an etching of the
>Shakespeare monument in Holy Trinity Church made in 1646 by Sir
>William Dugdale, an antiquarian, who happened to pass by to visit
>the monument.
Not so. Dugdale made his crude pencil/ink sketch c. 1634. It formed the
basis for Hollar's engraving (reproduced in Ogburn) in Dugdale's 1656
and 1730 (2nd ed. revised by William Thomas) ANTIQUITIES OF WARWICKSHIRE.
Basch goes on:
>It shows a different image of the poet with a more
>gaunt face with a goatee beard and holding on to a sack of grain,
>not a desk, and without a pen.
Not so. Hollar's rendering was not eyewitness and based solely on the
crude sketch above, where the tasselled cushion was tilted upward in
Dugdale's sketch and the pen may have been missing at the time. The
first accurate engraving (by Vertue) of the monument as a whole, other
than the falsified head and certain putti/inscription alterations,
appeared in Pope's 1725 Shakespeare edition.
Basch continues:
>This sketch was presented in Nicholas
>Rowe's 1709 Life of Shakespeare.
Not so. The 1709 monument engraving (probably by Vanedrgucht), while
Dugdale/Hollar-based and therefore derivative, is not an exact
reproduction.
Basch again:
>Much later, the sculpture changed into the rotund, more jolly
>version of what we have now with desk and quill.
Not so. The monument itself never changed but for minor refurbishment,
except in the distortions of cultic anti-Stratfordians.
Basch concludes:
>It would put paintings like that by Hilliard and the Grafton
>portrait in the running as authentic portraits.[...]
>there is as much, if not more, evidence for it than for
>the Chandos.
Not so. I detect, Hardy, the relentless creep of authorship rot. Time
for the snips?
Joe Egert
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